Expressive Evolution of Hybrid Cinema and Reproduction of Reality; Case Study: King Kong (1933) and (2005)

Expressive evolution of hybrid cinema in reproduction of reality and cultural logic of capitalism is
the aim of this article. Hybrid is a new method for production of laboratory and commercial goods,
with modern composition and implication characteristics. It has been posed firstly, in animal and
plant species biology and then extended to industry and culture. The cultural logic of late capitalism
which is rooted in diversity seeking has promoted such an aesthetic. In contemporary cinema
culture, hybridization of reality and imagination has been basically changed; because of access to
the modern digital techniques through simulation, in which reality approach has been replaced by
virtual strategy. According to political economy analysis of the Fredric Jameson’s typology the way
of expressing imagery signs applied in reproducing the reality in cinema has been accompanied by
the reality concept changes in various capitalism areas. Also, Jean Baudrillard believes that the hyper
reality signs do not refer to any object and are just media-made virtuality which has been referred as
simulacrum. The theoretical backgrounds of the present study were formed based on review of the key
reasons for the reality success in cinema concerning style and technology, and with regard to various
cultural logic eras, as well as capitalism development. The research theoretical framework is based
on a combination of typology and political economy growth and capitalism development, aimed at
analyzing the hybrid position in reality reproducing. Among the post-modern thinkers’ ideas, we have
used those of Fredric Jameson and Jean Baudrillard; because of their critics on capitalism developments
and the typology application in imagery media. Studying the pro and con ideas in this regard
requires explaining that promotion of the visual images’ quality in digital cinema has removed the
distance between reality and imagination. The main goal of this research is to recognize different capabilities
of combining a live film and animation, in hybrid cinema history. It doubtlessly is beneficial
for the Iranian cinema, theoretically and practically. The basic hypothesis of the research states that:
in hybrid cinema, the reality reproduction both in live film and animation has been realized based on
simulating the imitative signs in symbolic signs according to capitalism’s cultural logic. Therefore,
imaginary signs don’t refer to any real object, but to the film world. Here, we are going to consider and
analyze two films made based on the King Kong (1933 and 2005) in the early and late capitalism era,
under the influence of realism and post- modernism cultural logic. The findings of the research show
that the modern expression mode of the current cinema has consolidated the hybrid cinema’s multiple
systems, through digital systems performance. It also uses miseenscen’s general expression, in order
to apply the computerized unlimited layer age. The comparative analysis of the two era’s cinema reveals
that applying live film in hybrid cinema has led to dominance of the hyper reality space; also it
has entered the real personages into the virtual space